"It's trouble, it's really troublesome now." After Hiroshi Wakao put down the phone, he rubbed his nose while muttering to himself, one of his legs still shaking, and he seemed very anxious.

Can he not be anxious?

After working hard for many years, seeing his company slowly getting on track, he finally has the ability to independently produce animations.

He worked hard to form a capable production team, especially the famous cartoonist Qin Han, who came to work as a screenwriter.

At the beginning, after hearing Qin Han's proposal of "Magic Girl Koyuan", Hiroshi Wakao was very happy with this wonderful idea and his confidence increased. He believed that Shaft could make a first-class animation. Although it was very difficult to beat Hiroshi Okada, whom he had always hated - after all, the other party was preparing to produce "Sailor Moon" and was backed by Toei, the big Buddha. However, it is still very possible that Shaft could enter the ranks of Japan's top animation companies with "Magic Girl Koyuan".

But now, before the planning officially began, a general was poached, which was unfavorable.

"President, calm down." Production Director Iwase advised.

"In the animation industry, personnel flow is normal, and major animation companies often poach each other. If Toshihiro Ishimura breaches the contract, just let the legal officials hold them accountable. Let's consider how to make this animation well." said Yuka Nakase, the general manager in charge of the meeting minutes.

"Miss Nagase is right. The art supervisor has left, and I will ask for another one."

"However, it is not easy to recruit suitable art supervisors in a short time. The strength of that guy in Ishimura is obvious to all in the industry. He has participated in the production of many excellent animations. He has entered the industry from "Space Battleship Yamato" and participated in the production of a large number of masterpieces such as "Sweetheart Warrior", "Fuxing Boy", and "War Zone 88". I really can't think of anyone who can replace him immediately."

Art supervision is easy to find, but excellent art supervision is not that easy to find.

High-quality talents are scarce in any industry.

At this time, Xinfang Zhaozhi, who is the supervisor, proposed: "First find it, but there is no suitable candidate. If it really doesn't work, isn't there any teacher Qin Han there? Anyway, he has many positions, so it doesn't matter if he adds art supervision."

Qin Han looked at the sudden whim of new house Zhaozhi, and couldn't help but smile and shook his head.

Does this guy really want to exhaust me?

Who knows, others are interested in this proposal.

"As a famous cartoonist, Teacher Qin Han must have no problem with his artistic skills."

"Also, Teacher Qin Han was originally a screenwriter. If he served as the art supervisor, the world view and picture style of the animation can better integrate with the story, and there is no communication problem."

It is indeed a difficult point for art supervisors to show the story and world and express the screenwriter's ideas. If communication is not smooth, it is possible to create works that are divided between the story style and the picture style.

If Qin and Han dynasties served as art supervisor, this problem would be perfectly solved.

Although the adverse effects of art supervision being poached before the animation has started, there are always solutions.

The planning meeting officially began.

Hiroshi Waruo first spoke: "Teacher Qin Han's script was sent to everyone the day before yesterday. Do you have any ideas after reading it?"

Akihiro Xinfang first said: "A very exciting script, very innovative idea. After watching so many magical girls animations, it is time for some subversive breakthroughs. Especially the plot where Sister Mami was killed by the witch. Well, the script says that her head was bitten off directly! Such an impactful scene is exciting to think about! According to the plot progress, this scene should happen in the third episode of the animation. For a twelve-episode late-night animation, this is the first trigger point, and it can definitely mobilize the audience's enthusiasm for watching!"

After the screenwriter writes the story, it cannot be used directly. The story must be cut based on the number of episodes broadcast by the animation. Some plots should be streamlined and some plots should be expanded and created into scripts suitable for the 20-minute playback rhythm of an episode.

When Xinfang Zhaozhi looked at the original script, he could infer that the plot of the senior sister turning around would roughly appear in the third episode, and this strength would be amazing.

It seems that although Zhaozhi, a new house in this world, is not considered to have seen many battles, he still has strength.

With such an excellent supervisor, Qin and Han have more confidence.

Xinfang Zhaozhi praised the story of Qin and Han dynasties, but not everyone else thought so.

Production director Naoto Iwase expressed his own views.

"Teacher Qin Han, to be honest, this is indeed a wonderful story that subverts the traditional magic girl. If you publish it in Youth Comics Magazine, I will definitely watch it every time. However, if it is made into an animation, I am worried about the audience's acceptance."

Qin and Han did not speak, but Rawao Hiroshi came to answer this question.

He is the president of Shaft and the producer of this animation, and has his own investigation and understanding of the market.

"Brother Naoto, I understand your concerns. But I am very confident in the acceptance of "Magic Girl Koyuan"." said Hakushi Wakao. "First of all, it is precisely because of the innovation, subversion and anti-tradition of "Magic Girl Koyuan" that we position it as late-night animation."

Back then, with the efforts of Osamu Tezuka, watching TV animation gradually became a common entertainment method for Japanese people. Later, with the birth of a large number of excellent works led by "Space Battleship Yamato", adults' recognition of animation has become increasingly high, and they regard animation as a deep and connotative artistic expression form. A group like the Otaku tribe was born and gradually formed a climate.

Then, with the rapid development of the Japanese economy, the sales of the Otaku Animation, which was originally aimed at the niche otaku, became increasingly high. So the animation company found that even if you don’t spend a lot of money to buy schedules on TV stations and compete with those popular animations, but just sell vhs (video tapes), you can still make money.

So the ova animation for videotapes and rental markets was born.

Later, with the development of the Internet, the Ova market was impacted. At the same time, TV stations also began to reduce the purchase costs during the period due to the influence of the Internet.

Previously, those animation companies that use OVA as their lively animation began to switch to late-night TV animation, thus forming the current market structure.
Chapter completed!